WEEK OF 1/3/20

Shame / all 📷 : Tina Mead

I got to ring in the New Year with my musical spirit guide, Tina Mead, at the Empty Bottle. The flavors of the evening were Chicago natives Ethers, Madison, Wisconsin mainstays, Disq, and Brits from across the pond, Shame. The crowd was a mixture of young, old, and everything in between. As I scanned the rabble of concert-goers, I could tell something special was afoot this evening... 

Opener Ethers warmed everyone up nicely. As they played through their set, “Carry What You Kill” showcased the singing talents of keyboardist Mary McKane. This vocal trade-off with lead singer, Russell Calderwood, was prevalent throughout their set. When Ethers rolled into “Life Boat,” Calderwood pounded out high-tinged treble on his guitar paired with the bass player’s anthemic lines. ‘Twas musically like fine wine and a treat to the ear holes. Ethers’ sound is a blend of late ‘80s Orange County punk and the Seattle sound of the early ‘90s. They closed with some good ol’ fashioned rock ‘n’ roll with a twist of psych. They were a lovely opener and a great way to begin the evening.

By the time Disq came on, the Bottle was packed full. Seeing them live is a serious musical journey. My initial thought was, “I fuckng love where prog rock is going these days,” but Disq is more than prog; they bring in hints of experimental noise and jazz I can’t get enough of. Their studio sound has so much pop in it, it’s hard to channel them into any one genre or another. 

Bass player Raina Bock brandished the under 21 X’s on her hands. She was all twisted steel with second-hand suit appeal, sporting a pantsuit that was as impressive as her skills on the bass. Disq’s set was unchecked aggression, and they closed with what those California boys out West call Desert Rock dressed with solid guitar breakdowns. Bitchin’ idea.

Before Shame came on, the Empty Bottle staff stocked the stage with Miller High Life. Stage beers coupled with drummer Charlie Forbes’ “Fuck Tory Scum” shirt, the night’s headliner was shaping up to be a real barn burner. 

That was an understatement. 

After Shame counted us down to 2020, they erupted into “Another,” and every hard-hitting mosh-pitting mother fucker brought their power to the front of the stage. When they went into “Concrete,” I felt like I was transported back to a Gang of Four concert. Their progressive, slightly melodic take on post-punk is so damn delicious. Frontman Charlie Steen’s dynamic vocals heated up the Bottle and kept the crowd moving forward, sideways, up and down. 

Steen and crew powered through their set with unfettered passion. Bassist Josh Finerty flew across the stage or got serious Michael Jordan hang time off the bass drum. He literally played himself out of his bass and a shoe! In one particular incident, he landed flat on his back and onto a pint glass, cutting his back and momentarily stopping the set. 

My 2019 ended in a flurry of garage punk and noise. My 2020 started beer-soaked and covered in sweat. I couldn’t think of a better way to ring in the new year. If this is a sign of what’s to come, bring that shit. I’m ready for it. Health, wealth, and happiness, fam.   

-Aaron Pylinski